JENTIL: responsive clothing that promotes an ‘holistic approach to fashion as a new vehicle to treat psychological conditions’

This paper explores an ongoing interdisciplinary research project at the cutting edge of sensory, aroma and medical work, which seeks to change the experience of fragrance to a more intimate communication of identity, by employing emerging technologies with the ancient art of perfumery. The project illustrates .holistic' clothing called the JENTIL® Collection, following on from the Author’s SmartSecondSkin' PhD research, which describes a new movement in functional, emotional clothing that incorporates scent. The project investigates the emergent interface between the arts and biomedical sciences, around new emerging technologies and science platforms, and their applications in the domain of health and well-being. The JENTIL® Collection focuses on the development of .gentle., responsive clothing that changes with emotion, since the garments are designed for psychological end benefit to reduce stress. This is achieved by studying the mind and advancing knowledge and understanding of how known well-being fragrances embedded in holistic Fashion, could impact on mental health. This paper aims to combine applied theories about human well-being, with multisensory design, in order to create experimental strategies to improve self and social confidence for individuals suffering from depressive illnesses. The range of methodologies employed extends beyond the realm of fashion and textile techniques, to areas such as neuroscience, psychiatry, human sensory systems and affective states, and the increase in popularity of complementary therapies. In this paper the known affective potential of the sense of smell is discussed, by introducing Aroma-Chology as a tool that is worn as an emotional support system to create a personal scent bubble. around the body, with the capacity to regulate mood, physiological and psychological state and improve self-confidence in social situations. The clothing formulates a healing platform around the wearer, by creating novel olfactory experiences in textiles that are not as passive as current microencapsulated capsule systems generally are

Designing enriched aesthetic interaction for garment comfort

This thesis describes a research through design approach to identifying comfort factors within the kinaesthetic experiences of human sensory activities and perceptions. The research explores the experience of women through the way they touch, move and feel when interacting with wool garments. The research provides (1) a body of creative work, (2) a framework of ‘enriched aesthetic interaction’ and (3) the development of design principles for the comfort and related aesthetic qualities of clothing

A transdisciplinary collaborative journey leading to sensorial clothing

Recent science funding initiatives have enabled participants from a diverse array of disciplines to engage in common spaces for developing solutions for new wearables. These initiatives include collaborations between the arts and sciences, fields which have traditionally contributed very different forms of knowledge, methodology, and results. However, many such collaborations often turn out as science communication and dissemination activities that make no concrete contribution to technological innovation. Magic Lining, a transdisciplinary collaborative project involving artistic and scientific partners working in the fields of e-textile design, cognitive neuroscience and human-computer interaction, creates a shared experiential knowledge space. This article focuses on the research question of how a transdisciplinary collaborative design processinvolving material explorations, prototyping, first-person-perspective and user studies, can lead to the creation of a garment that invites various perceptual and emotional responses in its wearer. The article reflects on the design journey, highlighting the transdisciplinary team's research through design experience and shared language for knowledge exchange. This process has revealed new research paths for an emerging field of 'sensorial clothing', combining the various team members' fields of expertise and resulting in a wearable prototype.This work was partially supported by the VERTIGO project as part of the STARTS program of the European Commission, based on technological elements from the project Magic Shoes (grant PSI2016-79004-R, Ministerio de Economía, Industria y Competitividad of Spain, AEI/FEDER). The work was also supported by the project Magic outFIT, funded by the Spanish Agencia Estatal de Investigación (PID2019-105579RB-I00/AEI/10.13039/501100011033). Aleksander Väljamäe’s work was supported by the Estonian Research Council grant PUT1518; and Ana Tajadura-Jiménez’s work was supported by RYC-2014–15421 grant, Ministerio de Economía, Industria y Competitividad of Spain

The deceptive mirror: the dressed body beyond reflection.

This paper explores the role of the mirror in the act of getting dressed. It argues that in daily practices of dress/ing the predominance of the sense of sight in defining the experience of both dress and our self is materialized and enhanced by the omnipresence of an object: the mirror. Despite being mostly ignored in analyses of dressed body, the mirror performs a crucial role in defining both dress and the self in visual terms. By considering how the mirror is implicated in processes of subjectification, we analyze how this affects the relationship people have with clothes as signifiers of their selves. We maintain that in order to escape the gaze and its solidifying effect, we need to look away from the mirror and think of the body not as a subject, but as a fluid composition of forces. By drawing insights from phenomenology and then adhering to the Spinozian philosophy of Deleuze and Guattari, we interrogate the body as something that affectively transforms in the encounter with clothes to then explore it as a site of becoming with and through clothes. It is our aim to offer an experimentation in thinking that might lead to different ways of experiencing our clothes in the everyday as well as of theorizing about their relationship with the human body and the wearers' (supposed) identity

Touch Technology in Affective Human, Robot, Virtual-Human Interactions: A Survey

Given the importance of affective touch in human interactions, technology designers are increasingly attempting to bring this modality to the core of interactive technology. Advances in haptics and touch-sensing technology have been critical to fostering interest in this area. In this survey, we review how affective touch is investigated to enhance and support the human experience with or through technology. We explore this question across three different research areas to highlight their epistemology, main findings, and the challenges that persist. First, we review affective touch technology through the human–computer interaction literature to understand how it has been applied to the mediation of human–human interaction and its roles in other human interactions particularly with oneself, augmented objects/media, and affect-aware devices. We further highlight the datasets and methods that have been investigated for automatic detection and interpretation of affective touch in this area. In addition, we discuss the modalities of affective touch expressions in both humans and technology in these interactions. Second, we separately review how affective touch has been explored in human–robot and real-human–virtual-human interactions where the technical challenges encountered and the types of experience aimed at are different. We conclude with a discussion of the gaps and challenges that emerge from the review to steer research in directions that are critical for advancing affective touch technology and recognition systems. In our discussion, we also raise ethical issues that should be considered for responsible innovation in this growing area

Effects of mediated social touch on affective experiences and trust

This study investigated whether communication via mediated hand pressure during a remotely shared experience (watching an amusing video) can (1) enhance recovery from sadness, (2) enhance the affective quality of the experience, and (3) increase trust towards the communication partner. Thereto participants first watched a sad movie clip to elicit sadness, followed by a funny one to stimulate recovery from sadness. While watching the funny clip they signaled a hypothetical fellow participant every time they felt amused. In the experimental condition the participants responded by pressing a hand-held two-way mediated touch device (a Frebble), which also provided haptic feedback via simulated hand squeezes. In the control condition they responded by pressing a button and they received abstract visual feedback. Objective (heart rate, galvanic skin conductance, number and duration of joystick or Frebble presses) and subjective (questionnaires) data were collected to assess the emotional reactions of the participants. The subjective measurements confirmed that the sad movie successfully induced sadness while the funny movie indeed evoked more positive feelings. Although their ranking agreed with the subjective measurements, the physiological measurements confirmed this conclusion only for the funny movie. The results show that recovery from movie induced sadness, the affective experience of the amusing movie, and trust towards the communication partner did not differ between both experimental conditions. Hence, feedback via mediated hand touching did not enhance either of these factors compared to visual feedback. Further analysis of the data showed that participants scoring low on Extraversion (i.e., persons that are more introvert) or low on Touch Receptivity (i.e., persons who do not like to be touched by others) felt better understood by their communication partner when receiving mediated touch feedback instead of visual feedback, while the opposite was found for participants scoring high on these factors. The implications of these results for further research are discussed, and some suggestions for follow-up experiments are presented

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge